Here’s one for the record books: perhaps the strangest, most banal and nut crushingly odd album from the pen of Brian Wilson and the Beach Boys. Yes, even stranger than the universally beloved/loathed “Love You.” Even stranger than those mid-period albums they made before Love took over. Which, of course, makes it one of the maddest albums ever made yet never released (and don’t let the shoddy recording quality fool you, this was a completed album).
Which is saying something, as the Beach Boys have roughly…50 insane unreleased albums. And it’s weird enough to be entry three in the “Inexplicable Albums” series!
This proposed follow up to “Love You” was supposed to continue the whole “Brian is Back!” marketing campaign that had resulted in one “meh” album “15 Big Ones” as well as the delightfully odd (obvious solo album wannabe) “Love You.”
What makes this album odd is that it mixes the big cheese Broadway arrangement style from “20 Big Ones” with the childish (not childlike) songwriting of Wilson to create…well…the weirdest fucking Broadway ditties you’ve ever heard in your life.
A great example would be opening track “Life is for the Living.” It starts out with Brian trying to establish a smooth vocal smooth with a slightly off-key “liiiife! Is for the liiving!” as horns honk out a “finger popping” (I hate that term) Broadway riff.
Then Brian sings the following line which should tell you all you need to know about the lyrics on this album: “don’t sit on your ass, smoking some grass, that stuff went out a long time ago.”
Wow! And as always with Brian, I have absolutely no doubt he meant those lyrics in a completely heart felt manner: the guy always bled sincerity in a good and bad way.
Which is then exemplified (again) on the follow up track, “Hey Little Tom Boy.” This song is a…well, it features a band of weird, drugged up bearded 30 something’s chanting “hey little, hey little, hey little Tom boy! Time to turn into a girl!” as well as a creepy middle section where they “make her over” to be a “girl.”
Amazingly, this song made it onto the rushed replacement for this album “MIU” but without the creepy “hey put your hair down baby!” middle section.
I won’t go over every track here: that would require somebody trained in psychology to unravel Brian’s insanity at the time. Instead, I’ll discuss a few of the covers he tries to pull off: “Deep Purple” which is no better or worse than a million other versions of the song (and probably worse) and “On Broadway” which is…Al singing “On Broadway” backed up by a fully arranged cheese orchestra.
So far, so good: again, I don’t doubt Brian’s sincerity with these recordings. I believe he fully loved these songs and tried to do them the best justice he could at the time. And they aren’t bad: just banal.
The best cover is the insane “Shortnin’ Bread” cover which Brian had developed an insane obsession with around that time (climaxing with the infamous Alice Cooper/Ozzy Ozbourne/Whoever hour long singalong of the song led by Brian). It’s the exact same version (I think) featured on the later “LA (Light Album}” which should indicate how far the band was stretching during this period.
Better are the original songs like “H.E.L.P. Is on the Way” which is indescribable. It sounds a bit like a more arranged “Love You” outtake but with lyrics centered on getting into shape (with the HELP of the H.E.L.P. Health food store. Get it?!) or “Games Two Can Play” which is actually catchy as HELL but CREEPY AS FUCK as Brian wants to “play games that two can play.” One assumes in the bedroom.
As with everything Brian, the ballads are where he truly shines. They are the typically heart felt confessions that all his ballads turn into but with banal atmospheres and arrangements instead of his head spinning genius. “It’s Over Now” gets by on the melody alone as well as Brian’s resigned, “seat of death” vocal melody.
Perhaps the one song on the album that truly lives up to the Brian Wilson name (all the songs here are well written and catchy in their idiom but marked by banal arrangements, insane lyrics and lunatic atmospheres). It has an absolutely classy piano and vocal arrangement with minimal orchestral intrusions and a very well developed and winding melody. It’s appropriate it comes at the end of the album as it makes a solid capstone for the whole experience.
This album is something that can seem so utterly crappy and uninteresting the first few times you listen to it but which becomes interesting the more you learn about the band. After giving Brian full reign for a few albums, he must have had the confidence to do things his own away completely again.
Unfortunately, Brian was completely insane by the time this album came out and probably needed a bit of focus and prodding to create a great album. It’s probably why the songs were generally arranged by…somebody else (I forget the name, I think it’s a Sinatra arranger though).
I basically find it mostly interesting as a historical artifact and a priceless piece of information in the Great Brian Wilson/Beach Boys puzzle. It illustrates how truly fucked the band were at this point in their career: sure, Brian was Back but what good was that if he was chucking out albums as weird and hard to sell as this?!
It actually puts Love’s ascension on albums like “MIU” and LA (Light Album)” in a better light: with Carl never being a creative genius (solid, but no genius), Dennis trapped in a drug haze, Brian worthless and Jardine and Johnston seemingly along for the ride, SOMEBODY had to take control of the band and lead it into the future.
Sadly, it was the least creatively gifted member of the group who had to take control. And yes, he led them through the enjoyable but hardly essential “MIU” and “LA (Light Album)” albums but he also lead them into their abysmal “Stamos” years and “Kokomo” which makes this album seem like a lost masterpiece instead of a rightly rejected turd.
Songs to Youtube:
“Life is For the Living” as nothing can compare to this odd combination of trademark Wilson melody, jazz rock arrangements and trademark “WTF?” Wilson lyric.
“Still I Dream Of It” for evidence Brian still had IT but simply couldn’t get IT up at will any more.
(I’d like to thank the commentator who pointed a few jarringly obvious and embarrassing mistakes that I, as a lifelong Beach Boys fan, should never have made. However, since his comment contained personal attacks, I trashed it and won’t share his name. I invite criticism and corrections, but personal attacks about me or any of the writers who contribute to this site will not be tolerated.)
Today at Culture Fusion we are featuring a guest reviewer, Metal-Alholic and all around musical omnivore Sean M. Hebner. Sean presents a unique and highly enthusiastic approach to writing that exactly mirrors talking to him (he talks just like this in person, at a mile a minute and with endless hand gestures and peals of laughter) and which results in a rather personable, informal writing style which is a lot of fun to read.
He chose to review “Shazam!” by The Move on his own impetus after reading a few of my Move reviews. He has been a fan of this album for some years and has a lot to say about how it fits in with the history of Metal and Hard Rock. I hope you enjoy!
SHAZAM! By THE MOVE
A Review by Sean M. Hebner
Rating: 5/5 whozawhatsis
Unlike the leader of this blog (who is older than me by a smattering of years), I was not exposed to a plethora of Progressive Rock growing up. I discovered Heavy Metal at the age of 12 or 13 and was a ‘purest’ for a good many years after that. But my long time obsession with metal and some well placed covers of ‘’Uriah Heep” and “Mike Oldfield” songs got curious about metals roots.
Over the past several years, I have been growing my psychedelic and Progressive knowledge and in the process started a job where my boss, *Redacted*, was a music fanatic. He is as obsessed with “great” music as I am with Metal. He hadn’t really steered me wrong yet, turning me on to such artists as Nick Lowe and Richard Thompson.
So when *Redacted* told me that SHAZAM! By The Move was his favorite album of all time I decided it needed a listen. So I sampled it on Amazon.com, when WHOLY SHIT WHY HAVE I NEVER HEARD OF THIS BEFORE and bought the download. It felt so…ahead of its time. Cause it was clever…without being wanky. It was toned and paced well while being Mellow and Crushingly Heavy all at the same time. More people need to hear this album; in fact, if you haven’t heard this album yet, DO IT NOW!
Now we’ll go track by track:
ALBUM OPENER: Hello Susie – Hot DAMN! That’s almost a metal intro! Oh man I’m in love already the grand “circus” like delivery of the lyrics. This approach becomes common place in the future of heavy epic music and I’m glad to see it has such strong roots.
I’m reminded of “Grand Illusion” by Styx and the role that they played influencing heavy pop rock as well as anything by Queen. But it’s NOWHERE NEAR as pretentious! I’m not one that really pays close attention to lyrics and lyrical content doesn’t make or break a song for me.
SECOND TRACK – Beautiful Daughter. OMG they turned to the Beatles!! Because I’m easily distracted: the wiki article discussing this album uses the word Heavy Metal a lot. This is WRONG: its Proto Metal. Heavy Metal won’t exist till Iron Maiden gets Bruce and Black Sabbath gets DIO.
THIRD TRACK – Cherry Blossom Clinic Revisited this one is my personal Favorites on the album as it’s all over the place. Musical Perfection. Lock the door and throw the keys away! I love the references to Alice in wonderland and the firkin BASS. I LOVE the bass playing on this album. Entwistle can shove it!!
Then the song ‘ends’ and CLASSICAL MUSIC!! Wait. WAIT.. FANTASIA!!! AWW YEAH! I get this. This album was written for people with my sense of humor and sense of musicianship. I am not a musician but if I were this is what I’d try to do. Singing the guitar part is my favorite part!!!!!
Track Four – Fields of People. Ok now this is a cover as is the rest of the second half of the album and not having heard the original I can say that this song rocks if only in this context. Its by and large a product of the seventies and its at the same time moving in the direction of the future of heavy music.
Track five – Don’t Make my baby blue A Proto-Metal cover song……………………… If that doesn’t get you sexually aroused then The Move and/or Heavy Music isn’t for you.
Track Six – Last thing on my mind. When most people make the family tree of heavy metal you don’t see The Move on any lists per-say I’m ADDING them to the list. Even This last ballad, so depressing and soul crushing. Melancholy. So good, Roy Wood is the Crazy Uncle to Heavy Metal. And SATAN bless (curse?) him!
Overall this is a Must own for anyone who loves Heavy Metal and wants to understand the roots of metal more fully. Especially those of us who Like Mr. Bungle and its derivatives. I’m thinking that The Move has a lot to do with making these sub-genres of jazzy metal.
Also this is my first written review and its 6 hours before I have to be up for work in the morning. I like to ramble.
The more I listen to the Move, the more I frigging love them. Case in point: I have now given all four of their studio albums a single listen and am currently listening to the second disc of the 2012 live album “Live at the Fillmore 1969” the only document (and only likely document) of a full concert by “The Move” on their only tour of America in 1969.
Nominally, my new review style is supposed to avoid repeating bands too many times but I simply have to comment on this album: it really proves to me the fantastic nature of the band and really makes me lament how overlooked and under valued they are in general.
The story behind this album goes as follows: singer Carl Wayne held onto the tapes of the show for decades hoping that they could be cleaned up as recording technology improved. And they were: the sound isn’t exactly “crystal clear” but it’s clear enough to be enjoyable with a minimum of muddiness or dissonance. The only problem that bothered me was the balance between vocals and instruments: when all the band members start singing in intricate harmony, it tends to overshadow the instruments.
Nevermind that. Let’s go on to the good signs of the album, which are many.
In the studio up to this point (1969, before the simultaneously heavier and more intricate days of the Jeff Lynne era) the Move had been more…delicate in the studio. They had only released one album, 1968’s “The Move” which was a masterpiece of pop songwriting, diverse arrangement ideas and bizarre lyrical ideas.
It also showcased a tight band that had mastered a solid interplay of rhythm guitar, lead, bass, drums, lead vocals mixed with four and five part harmonies. It was the only album to feature original rhythm guitarist Trevor Burton and bass player “Ace” something or other who suffered from a bad acid trip that caused an early departure that switched Burton to bass.
By the time the band travelled to America, Burton had departed to be replaced by Rick Price, who stayed with the band for two more years. Burton departed due to the “softness” of the singles that he felt betrayed the band’s hard rocking roots.
One wonders how Burton would have felt hearing the band performances on this album? The set starts with the riff heavy “Open My Eyes” by The Nazz and the band fully adapts to the purpose, stretching it out to nearly seven minutes with wild Wood guitar (who knew the guy was a super star?) and wild, wild drum bashing by Bevan (nearly Moon level, which makes me feel the man is severely under rated as a drummer) with solid bass from Price and Wayne…
I feel like Wayne is the big discovery listening to this album. Wayne always had a great voice but always seemed more set to “croon” (as he pushed the band to the lucrative cabaret circuit) but he really roars on the album in a way I wouldn’t have expected from him.
He really reminds me of Rod Evans from the first period of Deep Purple: a rather smooth, yet powerful voice that fits in well with the general style of the band. It may not be the “Gillian-esque” or “Dio-style” scream that has set the style for heavy metal vocalization but its no less powerful for its intricacies, subtlety and power.
Another huge discovery is hearing Wood unleash on guitar: it’s no shock that this band was as big as they were on the touring circuit. Wood is a minor master on guitar, more in the vein of “Hendrix” or garage rock superstars as opposed to the flash of Ritchie Blackmore and his tone is satisfyingly thick, his leads and solos solid (and integrating direct classical approaches from time to time) and leads the band through song-after-song with an amazing fluency and grace while maintaining a steady, hard rocking groove.
Fivesongs from the 1970’s “Shazaam” are highlighted here: “Don’t Make My Baby Blue,” “The Last Thing On My Mind,” epic length Ars Nova cover “Fields of People,” reworked Wood classic “Cherry Blossom Clinic” and new Wood original “Hello Susie.”
Three tracks go over 10 minutes and two stretch to 14 minutes and 17 minutes. A highlight for this reviewer is closing “Under the Ice” one of The Nazz’s hardest rocking, tightest written tunes stretched to a bizarre 14 minutes.
“Fields of People” remains a classic as its a tightly written psychedelic classic extended with wild Wood ideas (including bizarre, near sitar style sounds from a “banjo-tar”) and bashing drums from Bevan that at times remind me of a less bass heavy Who…which is a huge, huge compliment from me.
The set is closed out with a further three songs from a second night at the Fillmore, repeats of “Don’t Make My Baby Blue,” “Cherry Blossom Clinic” and “The Last Thing On My Mind.” They’re good but don’t differ incredibly from the previous night’s versions. It’s still good to have them though.
Closing out the set is a great 10 minute interview from the intelligent and insightful Bev Bevan, reflecting on the tour with a humorous and self deprecating style that holds the attention all the way through.
I can’t recommend this enough to fans of hard hitting, yet ambitious, well played and tastefully arranged raw guitar rock. There are other drawbacks: the song set isn’t ideal for fans of “The Move”’s earlier, gentler singles and was in fact designed as a way to impress west coast audience; the endless jamming, while entertaining, can become a bit wearing after awhile if one isn’t ready for it; it’s not representative of the first line-up of the band which is said to have burned even tighter and brighter.
However, it’s highly unlikely that very many other shows were recorded by “The Move” (especially the first lineup which wasn’t around long) and in the absence of any other live album (not to discount the EP “Something Else by the Move”) this may be the only live set we ever get by the band.
Thank God it’s great! Get it.
Songs to YouTube:
Both Nazz Covers are phenomenal and blow poor Todd outta the water.
“Cherry Blossom Clinic Revisited” was always one of Wood’s best tunes and the rearrangement is great.
“Fields of People” may be the longest song of the set but its melodies are amazing and the band pulls them off with pizazz.
Since I just reviewed Jeff Lynne’s “The Idle Race” and am currently listening to a wide range of Jeff Lynne and Roy Wood related products (having purchased the discography of both men recently) I decided I’d try out a review of the first of their “The Move” collaborations: 1971’s “Looking On.”
I actually listened to the first two albums by “The Move” before getting to this one and thought of reviewing them first but I decided to stick with “Looking On” because a) it was the first of three collaborations between these two talented men b) it’s rather underrated and ignored throughout both men’s careers and most importantly c) I’m currently listening to it. Talk about “real time” reviewing!
“Looking On” came at a point when the original line-up of “The Move” had completely collapsed, leaving just Roy Wood, Bev Bevan and replacement bass player Rick Price left to pick up the pieces.
Wood had been trying to seduce Lynne to join “The Move” for a few years but was unable to due to Lynne banking on the success of “The Idle Race.” After the failure of their superb second LP, the Lynne written and produced “The Idle Race” it became clear to the ambitious Lynne that he had to change things up. And moving to a highly successful band like “The Move” was a great idea.
In theory: Wood was already moving past “The Move” (pun not intended) as a sonic idea and wanted to integrate strings and classical ideas into rock and roll. He and Lynne were on the same page (“Come with Me” from “The Idle Race” should be all the proof you need of that) and both were ready to create a group called “Electric Light Orchestra” to explore those ideas.
But contract obligations ruined their plans: “The Move” owed their record label a few albums. So the two decided to stop touring and crank out the albums they needed to finish their contract. “Looking On” was designed as a swan song but they would record one more album before retiring “The Move.”
Wow! Sorry to drown you in so much history but I think it’s important to understanding this rather…unique album. “The Move” were a highly successful psychedelic pop band that had been turning towards a heavier sound for some time (being in the band’s natural inclinations) and Lynne was fresh out of the idyllic “Idle Race” and was perhaps hungry for a…more ballsy sound.
So, “Looking On” sees the two (Bevan and Price are good at their instruments but aren’t exactly key creative forces for the band) creating a heavy, heavy, heavy sound that completely betrays their past styles. Of course, going “heavy” made sense with the times but…not the way these guys went heavy.
They basically go heavy while betraying their pop sensibilities.
Opening “Looking On” starts as a plodding, mastodon of a song with heavy, heavy guitar tones and a slow, slow tempo. Wood was never a great “riff” writer so the song sort of sits there looming at you angrily without affecting you for quite some time.
Thankfully, the band was smart enough to throw in an excellent, emotionally engaging instrumental section with wild guitar solos, sitars, saxes and an epic, moving melody that helped end the song on a high note and get the listener engaged.
Basically, “experimentation” is the name of the game here and the band goes all out. “When Alice Comes Back to the Farm” starts out as a precursor of Wood’s later “Wizzard” group: it starts with a heavy, slide riff with a bluesy, nearly “country” feel that is nice without being incredibly catchy.
Then, out of nowhere, the music stops and a striking and loud cello riff pops up for a few seconds. Why hello, ELO! I knew you were coming. Roy then overdubs an army of saxophones during the verses and choruses that has to be hard to be believed.
And then there’s the infamous “Brontosaurus” with it’s “Lady Madonna” rip riff that lumbers along like a…brontosaurus with the insane and inane “you know she can really do the brontosaurus” chorus gradually transforming into a completely convincing and exhilarating fast paced rock and roll jam.
Lynne makes two huge contributions with the slowly building, immaculate, melodic epic “What?” that serves as a precursor to his ELO approach to writing ballads. It builds in a slow, slow way as Lynne pops out great melodies, one after another while he and Roy overdub as many manic instruments as possible to create a near symphonic sound without the use of a symphony or mellotron.
Even better is Lynne’s “Open Up Said the World at the Door” which is highlighted by a wild multi-part song structure, great Lynne melodies and harmonies that sound EXACTLY like Queen (who had yet to emerge on the scene, I remind you) with great drum performances from Bevan (including a drum solo highlighted by a section being played backwards). Later in the song, a pounding piano riff is balanced with a delicate yet hard hitting oboe part by Wood that sounds EXACTLY like Roxy Music (who, again, hadn’t yet emerged).
A stern piano, bass and guitar rhythm pound out an epic coda as Wood shows off some epic guitar moves that illustrate how sadly underrated the man is in ever aspect of his musical career.
“Feel Too Good” is basically Wood’s version of “Open Up” and features some of his wildest guitar playing of all time and an out of nowhere and mind boggling accapella“doo wop” outro.
The whole album is like that: if the song is under written or potentially unengaging (which most, frankly, are), Roy and Jeff throw in wild instrumental sections, weird slide guitar solos, overdubbed saxophones, odd chanting voices layered with special effects, thick, thick bass tones and wild, ear catching melody and rhythm changes.
Does this sound like a head spinning, exhilarating art metal experience? It mostly definitely is all of that and more. However, those looking for the delicate melodies of the earlier “The Move” albums, the quaint psychedelia of “Idle Race” or even the ambitious classical stance of “Electric Light Orchestra” are going to be sorely disappointed.
And this lack of pop sensibility is a flaw: none of these songs will stay in your head for very long unless you sit around and listen to the album for days on end, which I would avoid: you may end up going quite mad and end up in the “Cherry Blossom Clinic.”
But weird sonic details will stick around in your head, like the odd moog bass that pops up out of nowhere in “Brontosaurus” and thickens the sound even further. Or the relatively simple yet hard driving boogie of “Turkish Tram Conductor Blues.”
And then there is the lyrics. You won’t really remember any lyrics or song concepts beyond “She can really do the brontosaurus” which should give you a sense of the lack of lyrical sense common throughout the album. Which is a shame, as both Wood and Lynne have some minor, yet solid lyrical insight: gone are the intriguing looks into insanity and obsession, replaced with…odes to dinosaurs.
Roy and Jeff were obviously more concerned with fully expressing themselves for the first time without the interference of a record company or the confines of writing pop singles. They quite obviously focus on the music arrangements before anything else (including, concise, clever melodies and biting lyrics).
However, fans of weird, wild music that maintains some sense of focus without dipping into pointless avant guardisms or dissonances should really enjoy this album. Especially if they like early “Led Zeppelin” and “Blue Cheer.” An obvious must buy, along with everything else by “The Move.”
Songs to YouTube:
“What?” should give further evidence to “Lynne Haters” that the man does have godly talents.
“When Alice Comes Back to the Farm” gives a little insight into the future development of the first Electric Light Orchestra album.
Finally, “Open Up Said the World at the Door” is worth it just to hear the sounds of Queen and Roxy Music before either existed.
And so my little break stretched on and on until it had been nearly a year before I posted anything…so much has changed in so many ways but one thing remains…I love music…and I love writing about music.
Hello fans of “Culture Fusion Reviews.” I hope things are treating you well. I’m doing well. I won’t go into it but I will briefly explain my abrupt departure and my triumphant return as quickly as possible:
- New jobs
- Life in general
- Sustaining interest
And there is the biggest problem with writing blogs: keeping up an interest and sustaining an interest. I decided to come back because my new jobs have balanced out, my love life is non-existent (in a good way) and I had a burst of interest to write about music again.
New format though: not doing complete discographies in a mad rush. This is part of what drove me crazy and bored me to tears. Just doing the last album I heard. And the last album I heard was…
“Birthday Party” by the Idle Race.
“Who the hell?” you may say and you wouldn’t be the only one. Idle Race is one of a million “also-rans” of the psychedelic era that had a somewhat unique vision, a decent songwriting voice and excellent production and solid-to-raving reviews (Marc Bolan of T-Rex was a huge fan) that simply didn’t have the “it” factor to make it big and which disbanded after a few years.
However, you can pick up a two CD collection named “Back to the Story” that includes everything they recorded: three albums and a variety of singles and non-album tracks. None of their songs were a huge hit and you hardly ever hear them mentioned but as a footnote…and the only reason they maintain that footnote status is because of their connection to Electric Light Orchestra.
That’s right, ELO: the pomp and circumstance, cello, violin and guitar “classical” prog-pop band led by somewhat controversial songwriter-guitarist-producer (and owner of huge hair and aviator glasses) Jeff Lynne. Basically, the Idle Race was an early proving ground for Lynne’s songwriting, arranging and production genius.
So, is it any good? That’s an interesting question. It’s not ELO: it’s very much a product of its era. This means the songs are generally very gentle excursions into musical whimsy: a 23 second orchestra version of “Happy Birthday to You” is the second track on the album; sound pans from speaker to speaker; music hall melodies clash again mellotrons and off-beat vocal harmonies; pianos, horns and strings take up a huge section of the sonic blueprint, sometimes drowning out the band themselves (also consisting of drums, bass, guitar and piano; catchy, sometimes complex melodies sustaining interest throughout as the arrangements shift on a dime to give the album a surprising sense of diversity.
Basically, it sounds like any number of minor first rate and major second rate psychedelic bands of the time (not an insult: second rate psychedelic bands are sometimes the most fun) falling more on the “whimsy Sgt. Pepper” vibe as opposed to the “psychotic space ravings” of early Pink Floyd. It’s gentle music for gentle people with an occasional burst of fuzz guitar and bass to wake you up. Basically, they often sound like a rougher, tougher “Left Banke” but without so many intense classical leanings.
The lyrics, however, are a different story. Lynne has never been a super amazing lyricist: for ELO: at his worst he’s competent while at his best he can be insightful and interesting. But the Idle Race, and especially this first album, is an interesting study in “musical and lyrical contrasts” similar to the “Steely Dan” method of contrasting gentle, smooth music with wild lyrics (but with different sonic focuses).
Lynne explores areas of madness, depravity, lust, love and the seedy, crazy side of the world in a way he never really touched in ELO. Songs like “I Like My Toys” are nearly child-like in the music and arrangements with a lyrical message that crouches the concept of “toys” with “madness” in a unique way.
To me, this contrast between musical gentleness and lyrical strangeness is what helps the album stand out a bit from the psychedelic pack: while not exactly a completely unique idea the band pull it off well and in their own unique style. Yes, the basic style is very similar to the whimsy sides of the Beatles psychedelic style but delving even deeper into near child-like levels of silliness and musical lightness.
The production is solid and typical of the time with lots of experiments in filtering, panning, sound effects and a dense layering of sound giving the album a somewhat uniform but still appealing sound. Of course, the album isn’t perfect and has some flaws (the uniform sound, the sometimes grating childishness of things as well as Lynne’s continuing obsession with de-emphasizing his great voice) but it serves as an early taster for greater things for Lynne and serves as a good case for understanding why the great Roy Wood held Jeff in such high esteem and why Jeff was able to briefly conquer the world with ELO.
Songs to check out on YouTube:
First song “Skeleton and the Roundabout” is a harbinger of their general style and of the silly delights of the rest of the album: carnivelesque melodies and arrangements, great vocal melodies, solid band performances and arrangements as well as a lyrical message that will have you scratching your head (in a good way).
“Follow Me Follow” continues in a similar vein but in a more sentimental manner foreshadowing Jeffy’s skills with love ballads.
“Lucky Man” a great music hall atmosphere with solid vocal harmonies, a great refrain and a lyrical message that touches on insanity.